5- A(n) ------------------ is a pictorial and poetic device containing a motto, an engraving that symbolically depicts the motto, and a short verse that comments on the motto and the engraving.

1) 'emblem'

2) 'debat'

3) 'trouveres'

4) 'recension'

6- The term ‘well-made play’ refers to a play ----------------.

1) in which the audience sits in front of a stage ‘framed like a picture’ that is revealed by the opening of the curtain

2) that is skillfully constructed to please the audience, but lacks the substance and complexity of serious drama

3) that exemplifies a dramatic conflict which is finally shown to be part of a larger—and often unresolvable—social or moral paradox

4) which generally represents the world as a vast theatre in which human history can be played out

7- The poem termed ‘complaint’ was ------------------.

1) a long lament on the cruelty of fate on the fortune of the aspiring poet

2) an 18th c. type of ‘socio-political’ poem written by a poet to the sovereign

3) appended to various petitions demanding justice in a particular case

4) a kind of monologue which became highly conventional in love poetry

8- ‘City comedy’ or ‘citizen comedy’ is a kind of comic drama produced in the London theatres of the ------------------, characterized by its contemporary urban subject-matter and its, --------------------- portrayal of ---------------------- life and manners.

10- Which of the following about the Roman critic Horace (65-8 B.C.E.) / his Ars Poetica is NOT true?

1) He developed the concept of decorum in his Ars Poetica according to which the poet had to fit the part to the whole, the subject to the appropriate genre, and meter and language to both character and circumstance.

2) His Ars Poetica is less a formal verse epistle than a long conversational poem about poetry.

3) He managed to break away with the Aristotelian tradition of criticism and theory (as represented in Potties and Rhetoric) in Ars Poetica and thus create new ground for an indigenous ‘Roman’ kind of criticism.

4) He is celebrated for his criticism as well as his poetry: he produced numerous lyric poems, odes, satires, and verse epistles (letters).

11- To the French critic Hippolyte Taine (1828-1893) ------------------.

1) the text is ‘a living being’, never an ‘object’ to be ‘dissected’ for the discovery of its meaning

2) a text is similar to a fossil shell that naturally contains the likeness of its inhabiter, the author

3) a complete analysis of the text is possible without considering its author or his or her inner psyche

4) accurate understanding of a literary text depends on an investigation into the life and works of its author’s peers

12- All the following statements about the cotemporary French literary theorist Julia Kristeva (b. 1941) / her work is true EXCEPT that she ----------------.

1) develops the concept of the ‘ideologeme’ based on Bakhtin and Medvedev's The Formal Method in Literary Scholarship

2) provides a complex account, based in psychoanalytic theory, of the relationship between the ‘normal’ and the ‘poetic’ (in her The Revolution in Poetic Language)

3) offers at once a radical critique of psychoanalysis—drawing on, but going beyond, Lacan—and a close textual method for the reading of texts which she terms ‘schizoanalysis’

4) draws on the work of Mikhail Bakhtin and the Russian Formalists to propose the idea of ‘intertextuality’, later associated with developments in poststructuralism

13- The French literary theorist Roland Barthes (1915-1980) posits the idea that -----------------.

1) ‘the text of bliss’ ‘unsettles the reader’s historical, cultural, psychological assumptions… brings a crisis to his relation with language’

2) a realistic novel offers an ‘open’ text with unlimited meaning—like any other text that encourages the reader to produce meanings

3) when we read as critics, we always step outside discourse and adopt a position invulnerable to a subsequent interrogative reading

4) readers are free to open and close the text's signifying process only through veneration of the signified

1) a randomly presented sequence of images should always be interpreted as an objective and impartial reflection of reality regardless of its author or social milieu

2) reality is ‘mere flux’, a mechanical collision of fragments, which nevertheless possesses an ‘order’, which the novelist renders in an ‘intensive’ form

3) the truly realistic work possesses an ‘intensive totality’ through the ‘artistic necessity’ of its images which corresponds to the ‘extensive totality’ of the world itself

4) the writer imposes an abstract order upon the world and presents the reader with an image of the richness and complexity of life from which a sense of the order emerges

16- According to the French theorist Jean Baudrillard (1929-2007) ------------------.

1) signs no longer correspond to or mask, their ‘real-life’ referent but replace it in a world of autonomous ‘floating signifies’

2) the ‘explosion of signifiers’ in our time leads ‘into a non-space of reality’, reality being defined in terms of the often electronic media (as opposed to more traditional forms of communication) in which it moves

3) everything is ‘reverentially’ on display, moving translucently through a depth where there are numerous controls to stabilize reference or any prospect of transformation

4) such image-creating communication technologies as the television have tended to obliterate the self-generating potential of images across the postmodern surface

17- Hans Robert Jauss (1921-1997), the German exponent of ‘reception’ theory (Rezeptioitasthetik), ----------------------.

1) believed that a literary work is an object which stands by itself and which offers essentially the same face to each reader in each period

2) tried to achieve a compromise between Russian Formalism which ignores history; and social theories which ignore the text

3) argued in his work that a writer can never affront the prevailing expectations of his or her day

18- Which of the following statements about the English critic Raymond Williams / his thought and work (1921-1988) is TRUE?

1) He related the ‘whole process of individuation’ to structures of power and influence as well as to the poststructuralist notion of binary oppositions.

2) He began his critical writing with a reaffirmation of the main English tradition of critical cultural thought which regarded ‘culture’ as ‘a whole way of life’.

3) He rejected the characterization of his theoretical work as ‘Marxist’ and developed his own critique of Marx in his (Marxism and Literature, 1977).

4) His general project—the study of all forms of signification in their actual conditions of production—was always emphatically historical and materialist.

19- In his Postmodernism, or the Cultural Logic of Late Capitalism (1991), the American Marxist theorist Fredric Jameson ------------------.

1) reads the odd materialist mysticism of Walter Benjamin ‘against the grain’ to produce a revolutionary and innovative Marxist criticism of capitalism

2) looks in particular to the strategy he terms ‘cognitive mapping’ (as applied to the Bonaventure Hotel in Los Angeles) for the necessary understanding, critique and transcendence of the world capitalist system

3) reviews the culture of ‘the aesthetic’ in post-Enlightenment Europe dialectically—seen as a binding agent in the formation of ‘normal’ capitalist subjectivity

4) maintains that, as a totalizing system, postmodernism is merely a style, with no particular relevance to the ‘cultural dominant’ f our time, which is ‘high capitalism’

1) regards discourse as a central human activity, but not as a universal ‘general text’, a vast sea of signification

2) is interested in the historical dimension of discursive constants—what it is possible to say will slay effectively the same from one era to another

3) argues that the set of structural rules which informs the various fields of knowledge is within individual consciousness

4) posits that individuals working within particular discursive practices think or speak without necessarily obeying the unspoken ‘archive’ of rules and constraints

21- Pre- Renaissance ‘author: work’ do NOT match in -----------------.

1) Geoffrey of Monmouth: The History of the Kings of Britain

2) John Gower: The Tale of Philomena and Tereus

3) William Langland: The Lover’s Confession

4) Thomas of England: Le Roman de Tristran

22- Julian Norwich's (1342-1416) A Book of Showings was --------------------.

1) built around the Virgin Mary's joys, sorrows, and the mystery of her virgin motherhood

2) composed of devotional hymns taken from the Latin Bible and the liturgy of the church

3) a long dramatic lyric dealing with the Christ's Crucifixion

4) a collection of sixteen mystical visions received by the author

23- Which of the following descriptions is related to the Renaissance figure John Skelton (1460- 1529)?

1) In his satires, he rejects the ornate rhetorical devices and aureate language that characterized his period’s most ambitious poetry; he writes in short, rhymed lines, having from two to five beats, and the lines can keep on rhyming helter-skelter until the resources of the Language give out.

2) His book (entitled in full) Acts and Monuments of these latter and perilous days, touching matters of the church, wherein are comprehended and described the great persecution and horrible troubles that have been wrought and practiced by the Romish prelates from the year of Our Lord a thousand to the time now present was in Latin in its first version and dealt with the persecutions suffered by the early reformers.

3) Many of his works, including his satires and his psalm translations, express an intense longing for ‘steadfastness’ and an escape from the corruption, anxiety, and duplicity of the court. The praise, in his verse epistle to John Poins, of a quiet retired life in the country and the harsh condemnation of courtly hypocrisy derive from his own experience.

4) His main concern in his major works is law in general and the several kinds of law; the nature, authority, and adequacy of Scripture; the rites, ceremonies, worship, and government of the English church; and various embodiments of authority, legitimate and illegitimate—elders, bishops, kings, and popes.

24- One of the great and influential books of the Renaissance, II Cortegiano (The Courtier) (1530-1566), translated by the humanist and diplomat Sir Thomas Hoby and published in 1561, describes ------------------- in the years 1504-08 the qualities of the ideal courtier.

1) through long passages of exquisite expository precision from the mouth of an imaginary man-of- the-world Duke Costello (written)

2) by means of dialogues between actual men and women living at the court of the duke of Urbino

3) through a blend of flowery prose and long verse epistles exposing the inner thoughts of some early Renaissance courtiers

4) in a lengthy correspondence between two ‘courtiers-about-town’, Count Zepirelli and Count Escada

25- Which of the following statements is NOT related to a description of the late sixteenth century figure Michael Drayton (1563-1631)?

1) His self-styled masterpiece is Poty-Olbion. a thirty-thousand-line historical-geographical poem celebrating all the counties of England and Wales.

2) He wrote tragedies, court masques, a historical epic called The Civil Wars Between the Two Houses of Lancaster and York, a prose History of England, several fine verse epistles, one of the best Elizabethan sonnet sequences, Delia, and a verse dialogue on the purpose of writing poetry, Musophilus.

3) He made a significant contribution as well to the period’s vogue for sonnets, publishing a sequence called Idea's Mirror (1594) that, following substantial revision, he republished as Idea.

4) He collaborated on plays, wrote scriptural paraphrases, pastorals, odes, poetic epistles, verse legends, and a historical epic called The Barons’ Wars.

26- Ben Jonson’s Timber, or Discoveries— ‘the most important English commentary on poetics between Sidney and Thomas Hobbes’ — (posthumously published 1640-41) would draw upon all the following EXCEPT -------------------.

1) far more relaxed and less serious in tone limn his Taller and Spectator

2) co-written with Addison (with Steele appearing only in one issue)

3) almost wholly written by Johnson himself

4) published side by side with his Taller and Spectator

33- William Blake (1757-1827) wrote The French Revolution, America: A Prophecy, Europe: A Prophecy, and the trenchant prophetic satire The Marriage of Heaven and Hell ------------------.

1) in the early 1790s while he was an ardent supporter of the French Revolution

2) near the end of his life (in short succession in 1821, 1823 and 1824 and 1826) disillusioned with die consequences of revolutions in France and America

3) in the heat of the Napoleonic wars with France in the 1800s (when his works were, in fact, banished from publication)

4) in the late 1790s in anticipation of the grim consequences of massive social upheavals in Europe and America

34- Which of the following essays is NOT by the Romantic essayist Charles Lamb (1775-1834)?

1) “Old China”

2) “On Gusto”

3) “On the Tragedies of Shakespeare, Considered with Reference to Their Fitness for Stage Representation”

4) “Detached Thoughts on Books and Reading”

35- Lord Byron’s conventional volume of poetry Hours of Idleness (1807) was so harshly treated by the ----------------- that he was provoked to write in reply his first important poem English Bards and Scotch Reviewers, a vigorous satire in which he incorporated brilliant ridicule of important contemporaries, including ----------------------.

1) Edinburgh Review / Scott, Wordsworth, and Coleridge

2) Edinburgh Review / Robert Burns and Thomas Carlyle

3) Blackwood's Magazine / Scott, Wordsworth, and Coleridge

4) Blackwood's Magazine / Robert Burns and Thomas Carlyle

36- Victorian ‘author: work’ match in --------------------.

1) Elizabeth Gaskell: Silly Novels by Lady Novelists

2) Thomas Henry Huxley: Literature and Science

3) Henry Newman: The Idea of a University

4) George Eliot: Old Nurse's Story

37- Which of the following two Victorian works draw upon the same subject matter for their creation, albeit in different fashions?

38- Which of the following about the South African writer Nadine Gordimer (1923-2014) is NOT true?

1) She has drawn criticism both for her apparent lack of attention to feminism in favor of race issues and for the wholeness and unfashionable completeness of her novels—their politeness, meticulous scene paintings, fully realized characters.

2) She wrote ‘Telephone Conversation,’ a mini verse drama of sorts in which two characters, a racist English landlady and an African trying to rent an apartment, are wittily pitted against one another.

3) In her non-fiction, she self-consciously plates her writing within a tradition of European realism, most notably that defined by the Hungarian philosopher and Critic Georg Lukacs (1885-1971).

4) Her The House Gun (1998) and The Pickup (2001) show an uncompromising locus on me inhabitants of a racially fractured culture.

39- ‘Modernist manifestos’ in the early 20th c. takes on the different forms mentioned below EXCEPT that some are -----------------.

1) individual statements, such as Hulme’s lecture ‘Romanticism and Classicism’

2) meant to be declarations on behalf of an emergent group or movement, such as “A Few Don'ts by an Imagiste”

3) a non-public declaration, unpublished in the author’s lifetime, as in the case of Mina Loy’s ‘Feminist Manifesto’

4) intended to delineate the duties of the avant-garde artist in the 'current deplorable state of cultural crisis', as in W. B. Yeats’ Responsibilities

40- The seminal 20th century texts below appeared in the correct under in -------------------.

2) ‘Adieu, farewell, earth’s bliss, / This world uncertain is; / Fond are life’s lustful joys, / Death proves them alt but toys, / None from his darts can fly; /1 am sick, I must die. / Lord, have mercy on us!’

3) 'There is a garden in her face. / Where roses and white lilies grow; / A heavenly paradise is that place, / Wherein all pleasant fruits do flow. / There cherries grow, which none may buy / Till ‘Cherry ripe!’ themselves do cry.'

4) ‘Now winter nights enlarge / The number of their hours, / And clouds their storms discharge / Upon the airy towers. / Let now the chimneys blaze / And cups overflow with wine, / Let well-tuned words amaze / With harmony divine.’

42- Which of the following statements about John Milton's II Penseroso (1645) is NOT true?

1) It had a considerable influence on the meditative graveyard poems of the 18th cent., and there are echoes in Pope’s ‘Eloisa to Abelard’, and later Gothic-works.

2) It is an invocation to the goddess Melancholy, bidding her bring Peace, Quiet, Leisure, and Contemplation.

3) It challenges the goddess Mirth to a verbal duel on its utter futility amid the ‘deceitful delights’ of ‘towered cities’ and the ‘busy hum of men’.

4) It describes the pleasures of die studious, meditative life, of tragedy, epic poetry, and music.

1) is a poem of about 800 lines based on the classical myth of a mortal detested by the goddess of the moon

2) offers at its conclusion a way of resolving the opposition in the poem between the inevitably mortal pleasures of this world and the possibility of delights that would be eternal

3) deals partly with Endymion’s vision of his love for a Chinese Queen offered to him by Bacchus, god of wine and revelry

4) tells of Endymion’s long but pleasurable search for a mortal goddess, an earthly figure, whom he had seen in his childhood visions

45- Robert Browning’s Fra Lippo Lippi (1855) -------------------.

1) charts the account of the hero’s marriage to a beautiful widow, Lucrezia, ‘an artful woman who made him do as she pleased in all things.’

2) traces the feelings and emotions of a speaker whose students are bearing the body of their scholarly master (whose devotion to the Greek language made it possible for others to enjoy the more recognizably significant aspects of the revival of learning) to the mountain top for burial

3) seeks to explain why a Florentine master, one of the most skillful painters of the Renaissance, never altogether fulfilled the promise he had shown early in his career and why he had never arrived at the level of such artists as Raphael

4) portrays the dawn of the Renaissance in Italy at a point when the medieval attitude toward life and art was about to be displaced by a fresh appreciation of earthly pleasures.

46- ‘First World War poet: poem’ match in -------------------.

1) Edward Thomas: “Adlestrop”

2) Isaac Rosenberg: “The Owl”

3) Ivor Gurney: “The Cherry Trees”

4) Sigfried Sassoon: “As the Team’s Head Brass”

47- Which of the following does NOT open a poem by Philip Larkin (1922-1985)?

1) ‘When Farmer Oak smiled, the corners of his mouth spread till they were within an unimportant distance of his ears, his eyes were reduced to chinks, and diverging wrinkles appeared round them…’

2) ‘To dwellers in a wood almost every species of tree has its voice as well as its feature. At the passing of the breeze the fir-trees sob and moan no less distinctly than they rock: the holly whistles as it battles with itself…’

3) The schoolmaster was leaving the village, and everybody seemed sorry. The miller at Cresscombe lent him the small white tilted cart and horse to carry his goods to the city of his destination, about twenty miles off…’

4) ‘On an evening in the latter part of May a middle-aged man was walking homeward from Shaston to the village of Marlott, in the adjoining Vale of Blakemore, or Blackmoor…’

55- ‘Novelist: novel’ do NOT correspond in --------------------.

1) Ian McEwan: Amsterdam

2) Evelyn Waugh: Men at Arms

3) Doris Lessing: leading the Cheers

4) Margaret Atwood: The Handmaid’s Tale

56- Alice Munro’s Lives of Girls and Women (1971) is a --------------------------.

1) bleakly funny novel, a dark example of both satire and feminism, tracing the revenge taken by one character on her husband

2) novel of human observation and interpretive commentary uses for its point of departure a gathering of anthropologists